Architecture and photography are professions with diverse and complex connotations. Both roles express the variant dynamics of life - collisions, amendments, concealments and revelations. Being trained as an architect the structure of my work is based on the presence of architectural and landscape elements, making a critique view on Peru’s history, identity and territory.

I always had a strong inclination towards photography; a tool that allowed me to express my visual concerns. After exercising my architectural practice and experimenting with space and light, I felt a need to approach to the photographic medium, which somehow kept away the long processes involved in the architectural practice. Becoming a self taught photographer allowed me to think and feel in the same direction, in order to focus on my visual language.

My field of work focuses on the outskirt deserts of the Peruvian coast. I investigate the anonymous architectural elements that occupy pieces of land on the outer bounds of the coastal desert. I center my research on the abandoned buildings entities that appear to have life of their own and regenerate after long periods of time being left behind.

I try to avoid improvisation during my work. Being educated as an architect taught me to be thorough during the creative process when establishing the guidelines of my ongoing projects, especially when dealing with medium and large format photography. This helped me acquire a quite measured and intended production method; time being an important element in my creative process.

I believe the creation act is the art of making connections. Every idea comes from a previous one and every new one spirals around the initial idea. It's important to seek the origin of our early memories because that’s the source of our greater identity. Imagination is the art of combining our memories; it’s necessary for me to learn how to perceive. To perceive in a way my vision is not unclear by a rational analysis. I try to gain knowledge on the difficult art of seeing with innocence. I believe that in any authentic creative process there’s a predominance of doubt followed by intuition.

My work is not intended to discover and express my truth; but my doubts. I believe an image can be directly equivalent to a feeling without the use of language. I suggest the viewers to question themselves and realize that nothing is what it seems.